Download Aristophanes' Thesmophoriazusae: Philosophizing Theatre and by Ashley Clements PDF

By Ashley Clements

Aristophanes' comedian masterpiece Thesmophoriazusae has lengthy been well-known among the performs of previous Comedy for its deconstruction of tragic theatricality. This ebook unearths that this deconstruction is grounded now not easily in Aristophanes' wider engagement with tragic realism. particularly, it demonstrates that from its outset Aristophanes' play attracts upon Parmenides' philosophical revelations bearing on fact and phantasm, using Eleatic strictures and imagery to philosophize the theatrical scenario, criticize Aristophanes' poetic rival Euripides as promulgator of damaging deceptions, disclose the harmful complicity of Athenian theatre audiences in tragic phantasm, and articulate political suggestion to an viewers negotiating a interval of political turmoil characterised by means of deception and uncertainty (the months sooner than the oligarchic coup of 411 BC). The booklet thereby restores Thesmophoriazusae to its right prestige as a philosophical comedy and divulges hitherto unrecognized facts of Aristophanes' political use of Eleatic rules in the course of the past due 5th century BC.

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Extra info for Aristophanes' Thesmophoriazusae: Philosophizing Theatre and the Politics of Perception in Late Fifth-Century Athens (Cambridge Classical Studies)

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Not (p or q) = not p and not q]’. See H. W. Miller (1946) 172 (cited by Sansone (1996) 341): ‘this is the philosophical meaning of χωρίς’, comparing Pl. Phlb. 44a10: χωρὶς τοῦ μὴ λυπεῖσθαι καὶ τοῦ χαίρειν ἡ 19 a ri s t op h an e s ’ thesmophoriazusae φύσις,17 as a wider corrective to the comic nonsense made of his words has set him up as a peddler of avant-garde theoretical concepts (E. [What I’m saying is this] ‘. . 18 Yet pitted against the argumentative powers of this interlocutor, Euripides’ allusion to such high ideas has served only to draw attention to a tragic inability to deploy them persuasively.

Among others). See p. 31 n. 11. This is based upon the extrapolation of Nails (2002) 317–18 of a dramatic date of ≥ 407. There is general consensus that Th. was performed at the Dionysia of 411 bc and Lys. was performed at the Lenaea of that year, see Austin and Olson (2004) xxxiii–xliv, esp. xli–xliv; Sommerstein (1977); cf. Revermann (2006b) 166; Rogers (1904) and now Tsakmakis (2012) argue in support of a performance date for the Th. at the Lenaea of 410 bc. 5 Here they rapidly perfected their eristic 3 4 5 Nails (2002) 136–7, 317–18.

See Euthd. 272b9 for the brothers as γέροντε; for the comparably advanced age of Euripides and his interlocutor, and for κηδεστής as ‘brother-in-law’ see my pp. 8–9 nn. 17–18. Nails (2002) 317. Euthydemus and Dionysodorus themselves are obscure, but scholarly consensus is that certainly Euthydemus and probably Dionysodorus were historical personages, see Palmer (1999) 126, esp. n. 9; see also further references to Euthydemus at Pl. Cra. 386d and Arist. SE 177b, Rh. 1401a27, and to Dionysodorus at Xen.

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